EUR-TEXT – Back to the future!
Final conference
2014, 28th – 30th of March
Strzeminski Academy of Fine Arts,
Łódź (Poland)
www.eurtext.eu
The co-organisers of the EUR-TEXT project are:
Project « EUR-TEXT – Back to the future! » - Final conference – 28th to 30th of March 2014
Updated version of the 2014, 10th of March
Table of content
EURTEXT Manifesto ........................................................................................................................................... 3
Programme ........................................................................................................................................................ 4
Musical introductions ........................................................................................................................................ 7
Presentation of the speakers and their lecture ................................................................................................. 8
« Styles and techniques of the past at the service of modern art: a formula for the future? », by François
Sabatier, musicologist at the Conservatoire National Supérieur de Musique de Lyon and publication
director of “L’Orgue” (France) ....................................................................................................................... 8
„INTERPRETATIONS OF CLASSICAL ART IN CONTEMPORARY PAINTING”, by Łukasz M. Sadowski, Ph.D.,
Head of the Institute of Art Theory and History at the Strzemiński Academy of Fine Art of Łódź (Poland) . 9
Re-Interpretation, or Back to the harpsichord future!”, by Prof. Barbara Maria Willi, Ph.D, harpsichord
and pianoforte professor at the Janacek Academy of Music Brno (Czech Republic) .................................. 11
Recomposing Monteverdi’s Arianna, by Johannes Boer, head of the early music department, and Cornelis
de Bondt, composer and pedagogue at the Royal Conservatorium Den Haag (The Netherlands) ............. 12
Interpretation instead of creation: Why early music replaced the contemporary production?, by PhDr.
Martin Flašar, Ph.D., Masaryk university, Brno (Czech Republic) ................................................................ 14
EURTEXT new compositions pieces with the French young composer Denis Ramos, student at the
Conservatoire National Supérieur de Musique de Paris (France) ............................................................... 15
Thoughts on some fertile hybridizations by Jehanne Dautrey, PhD., philosopher at the Ecole Nationale
Supérieure d’Art de Nancy (France) ............................................................................................................ 16
Creation = Interpretation? with pedagogues and students of the EURTEXT project .................................. 17
Visual, acoustic and kinetic "pathos formulas" in Giacomo Meyerbeer's music theatrical works by PhD.
Martin Skamletz and PhD. Anette Schaffer / University of Arts Bern –Research Institute in Interpretation
(Switzerland) ................................................................................................... Error! Bookmark not defined.
“The Tastes Are Changing. New Trends in Music Reception” by Assoc. Prof PhDr. Rector Mikuláš Bek,
Ph.D. Masaryk University in Brno (Czech Republic) ..................................................................................... 18
Practical information ....................................................................................................................................... 19
Additional musical programme for the evenings during your stay in Łódź ................................................. 21
EURTEXT project coorganisers staff ............................................................................................................. 23
2
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
EURTEXT Manifesto
“INTERPRETATION, CREATION ?”
Interpretation, Creation… How can these two activities come together? How can creators integrate their
works with artistic heritage which is their source of inspiration and how, while being interpreters, can they
achieve a status of creator?
Since May 2012, the Abbaye aux Dames de Saintes has lead a musical project based on the interpretation
of classical and romantic repertoires on period instruments. It organizes a classical music festival and the
Jeune Orchestre Atlantique, a unique training programme dedicated to young musicians, specializing in
classical and romantic repertoires on period instruments. www.abbayeauxdames.org The Abbaye aux
Dames is also the coordinator of the “EUR-TEXT – Back to the future!” interdisciplinary project, with the
support of the CULTURE programme of the European Commission www.eurtext.eu.
The main aim of the EUR-TEXT project is to confront the effects of the work of musicians, painters, graphic
artists, designers and composers whose work originated in the same process of revisiting the European
cultural heritage and restating it in different forms – of a concert, exhibition or fashion show – always with
the intention of updating the past.
The project reflects on the interpretation of classical and romanticist pieces of art and their contemporary
impact through the eyes of a young generation of artists. The Abbaye aux Dames implements the activities
of this project thanks to a strong cooperation with:



The Janacek Academy of Music Brno (CZ) www.jamu.cz for artistic research in music
Soundscapes (MT) www.soundscapes.com.mt and the Maltese Association for Contemporary
Music Malta (MT) / www.maltacontemporarymusic.org for contemporary music
The Strzeminski Academy of Fine Arts Łódź (PL) www.asp.Łódź.pl for artistic research in arts
The Abbaye aux Dames and its coorganisers organise at the Strzeminski Academy of Arts Łódź (Poland) in
2014, from 28th to 30th of March the final congress of the EUR-TEXT project. The professors and the
students of the EURTEXT project will testify about their experience and present their artistic results. This
symposium is dedicated to a professional audience (representatives of Academies of Music and Arts,
professional musicians and artists, composers, researchers in arts, journalists, representatives of the
European Commission and EAC Executive Agency, etc.)
The EUR-TEXT – Back to the future! project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be
made of the information contained therein.
3
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
EUR-TEXT – Back to the future! Final congress
2014, 28th – 30th of March
Strzeminski Academy of Fine Arts,
Łódź (Poland)
Programme
Friday, 28th of March
14:00
Welcome words and opening session by Mrs. Prof. Jolanta Rudzka-Habisiak, Rector of the
Strzeminski Academy of Fine Arts, Łódź
14:15
Presentation of the EURTEXT project’s artistic results by Catherine Puig, Abbaye aux Dames,
JOA education manager
14:30
EURTEXT performance Schubert / Ramos with the members of the Jeune Orchestre
atlantique, dir. Catherine Puig
Session I
“Styles and techniques of the past at the service of modern art: a formula for the future?”
by François Sabatier (France), musicologist and publication director of “L’Orgue” review.
14:45–16:30
“Interpretations of Classical Art in Contemporary Paintings”, by Łukasz M. Sadowski
(Poland), head of the Institute of Art Theory and History at the Strzemiński Academy of Fine
Art Łódź
Moderation by Jan Čižmář
16:30–17:00
Coffee break
Session II
17:00-18:00
EURTEXT performance Haydn – Trio for piano, violin and cello in D dur – 1st movement
(Andante) with PhD. Barbara Willi, harpsichord; Zdeněk Svozil, violin, Anežka Jungová,
4
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
violoncello (Janacek Academy of Music Brno)
“Re-Interpretation, or Back to the harpsichord future!”, by Prof. Barbara Maria Willi, Ph.D,
harpsichord and pianoforte professor at the Janacek Academy of Music Brno (Czech
Republic)
Moderation by Jan Čižmář
18:00
Different possibilities of concerts (see page 20)
Saturday, 29th of March
10:00
EURTEXT performance Beethoven / Hendrich with the members of the Jeune Orchestre
atlantique, dir. Catherine Puig
Session III
Re-composing Monteverdi’s Arianna, by Johannes Boer, head of the Early Music
department of the Royal Consevatoire in The Hague, and Cornelis de Bondt, teacher in music
theory and composition at the Royal Consevatoire in The Hague (The Netherlands)
10:15-12:00
Interpretation instead of creation: Why early music replaced the contemporary
production? by PhDr. Martin Flašar, Ph.D., Masaryk University in Brno (Czech Republic)
The French young composer Denis Ramos will present his creation process in the framework
of the EURTEXT project.
Moderation: Ruben Zahra
12:00-14:00
Lunch
Session IV
14:00-14:45
Thoughts on some fertile hybridizations, by Jehanne Dautrey, PhD, philosopher at the Ecole
Nationale Supérieure d’Art de Nancy (France)
Moderation by Jan Čižmář
14.45 -15.15
Presentation of the EURTEXT costumes show film realized by the students of the fashion
department of the Strzeminski Academy of Fine Arts, Łódź
Session V
15:15-16:00
Creation = Interpretation?
Discussion group with the pedagogues involved in the EURTEXT project (Abbaye aux Dames
de Saintes, Janacek Academy of Music Brno and Strzeminski Academy of Fine Arts, Łódź)
5
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Moderation by Jan Čižmář
16:00-16:30
Coffee break
Session VI – Students presentations
The critic of “Authentic approach”, by Sabrina Chauris and Agustin Orcha, member of the
JOA master degree programme (Abbaye aux Dames / University of Poitiers)
16:30-18:00
The Vibrato between 1750 and 1900, by Céline Lamanda, member of the JOA master degree
programme (Abbaye aux Dames / University of Poitiers)
Re-search: Editing early music, by Jan Čižmář, student in doctorate at the Janacek Academy
of Music Brno
Other presentation of students of the Strzeminski Academy of Fine Arts, Łódź
18:00
Different possibilities of concerts
Sunday, 30th of March
10:00
EURTEXT performance Spohr / Fiorini with the members of the Jeune Orchestre atlantique,
dir. Catherine Puig
Session VII
“Moving Meyerbeer”, by Martin Skamletz, and Anette Schaffer Ph.D., professor at the
department of research in interpretation at the Bern University of the Arts (Switzerland)
10:30-12:00
“The Tastes are Changing. New Trends in Music Reception”, by doc. PhDr. Mikuláš Bek ,
Ph.D., Rector of Masaryk University Brno (Czech Republic)
Moderation by Jan Čižmář
Conference conclusion by Ph.D. Jehanne Dautrey philosopher at the Ecole Nationale
Supérieure d’Art de Nancy (France)
12:00
Closing session by Mrs. Prof. Jolanta Rudzka-Habisiak, Rector of the Strzeminski Academy of
Fine Arts, Łódź
12:00-14:00
Lunch
Two options are proposed to participants:
14:00-17:00
Visit of the Central Textile Museum Łódź
European projects brokerage
6
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Musical introductions
Friday, 28th of March
14:30 – 14:45 FRANZ SCHUBERT : Octet in F major – 3rd movement (Allegro vivace – Trio – Allegro vivace)
and DENIS RAMOS: Torsades conducted by Catherine Puig
Members of the Jeune Orchestre atlantique:
Florian Dantel and Klaudia Matlak, violins; Sabrina Chauris, viola; Jean-Baptiste Valfré, violoncello; Agustin
Orcha Mata, doublebass; Michal Lewkowicz, clarinet; Marti Clark, fagot; Kurumi Kudo, natural horn
17:00-17:15 JOSEPH HAYDN: Trio for piano, violin and cello in D dur – 1st movement (Andante)
Proposed by the Janacek Academy of Music Brno
Barbara Willi, Ph.D., harpsichord; Zdeněk Svozil, violin, Anežka Jungová, violoncello
Saturday, 29th of March
10:00 – 10:15 LUDWIG VAN BEETHOVEN: Septet in E flat major op. 20 – 1st movement (Adagio; Allegro con
brio) and PAWEL HENDRICH: Pleochroit conducted by Catherine Puig
Members of the Jeune Orchestre atlantique:
Charles Quentin de Gromard, violon ; Sabrina Chauris, viola ; Jean-Baptiste Valfré, violoncello ; Agustin
Orcha Mata, doublebass ; Michal Lewkowicz, clarinet ; Martin Clark, fagot ; Kurumi Kudo, natural horn
Sunday, 30th of March
10:00-10:15 LOUIS SPOHR: Nonet op. 31 – 4th movement (Vivace) and KARL FIORINI: Bagatelle conducted
by Catherine Puig
Members of the Jeune Orchestre atlantique:
Florian Dantel, violin; Sabrina Chauris, viola; Agustin Orcha Mata, doublebass; Céline Lamanda, flute; Julia
Fankhauser, oboe; Michal Lewkowicz, clarinet; Martin Clark, fagot; Kurumi Kudo, natural horn
7
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Presentation of the speakers and their lecture
Friday, 28th of March
Session I – 14:45-16:30
Moderator: Jan Čižmář, doctorate student at Janáček Academy of Performing Arts in Brno and at Masaryk
University, Brno.
« Styles and techniques of the past at the service of modern art: a formula for the
future? », by François Sabatier, musicologist at the Conservatoire National
Supérieur de Musique de Lyon and publication director of “L’Orgue” (France)
Since the Renaissance the question of the originality of style has been always questioned with
many corollaries such as the invention of the artist, his/her personality or his/her imagination. After the
long gothic era – a resolutely novel genre in its forms, its technics and ambitions, the “retour à l’Antique”
consists indeed in a first imitative approach for which the more or less faithful reproduction of pre-existing
model gets essential as spirit of an evolution which is sustained by philosophical and political concepts. But
all neo-classicisms which follow the flow of history adopt near formulas or theories which could be
identified as regressive if in most of cases the way we look on the past did not generate a production able
to renew with more or less genius or personality, the previous models and ways. The split with an obsolete
civilisation, the rejection caused by a dated aesthetic, the shock caused by disturbing events form various
returns, withdrawals or renunciations. After the Renaissance, the second half of the 18th century and then
the inter-war period are characterized partly by principles which lead rarely to pastiche but confine to a
rule according to which the “classical” elements do not challenge languages or a spirit which have to stay
modern. Despite of all in France and in most of European nations, the holders of this aesthetic often
identified as “arrière-garde” oppose the defenders of the “avant-garde”, particularly in the musical field.
After World War II the extension and the supremacy of new theories lead to the end of artistic schools
which still meet tradition or a popular culture at the extreme opposite of the surrounding elitism. But these
dominant theories lost ground in the 70’s and let through a new and more eclectic free and diverse trend.
Hence post-modernism which in the architectural field reflects a heteroclite form by a fantasist “recycling”
of elements of the past. This phenomena ends up spreading in literature. This generates a trend for free
citation, pastiche, parody and irony which is reflected by a blend with no frontiers or the choice of
thematics or practices specific to all sorts of historical movements. Without necessarily being placed under
the same category these phenomenons concern soon most of arts which stem from the ever seen up then
break-up of “families” and are characterized by an individual and free expression.
A relative liberty spreads and according to the quotation famous at one time “Art is dead but artists
remain” our century would break with the processes in progress until the end of the 19 th century and also
break up with all common aesthetic in aid of a multitude of private projects. This phenomena had already
begun in the first decades of the 20th century.
When creation goes in many directions between pastiche and revolutionary intentions, manual or
electronic technics, one of the possible options concerns the return to ancient practices and the resort to
potentialities offered by the inventive exploitation of simple material, the revitalized aesthetic of yesterday
8
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
or the mere desire to find again a manner or a style. This consists in applying bygone means to new codes –
what the historically informed movement allows to conceive in a large and open range of methods and
options.
In that way there is the possibility to resort to sources or means which had nothing to do with modernity
but that nobody had thought up then to transpose in a contemporary context. In paintings and in music
alike technics which allow on the one hand restoration or reproduction or on the other hand interpretation
would serve a creation sometimes near of a pastiche but more often oriented to steadfastly innovative
solutions. So what are the meanings of this approach and the pertinence or the sustainability of the works
which may stem from it? In other words can the artist of present satisfy the audience using outdated
manners whose hidden potentialities could be discovered? It is certainly too early to assert but the debate
is open.
Born in 1945, François Sabatier studied at the National Superior Music Conservatory of Paris and at
University Paris IV Sorbonne. Having specialised in the Organ history and its music, he currently belongs to
the Organ Commission of the city of Paris and is the chief Editor of The Organ publication. Since 1982 he
teaches Musical History and Art and Civilisation at the National Superior Music Conservatory of Lyon. He has
published a number of book resulting from his multi-disciplinary work on correspondances between the Fine
Arts, Litterature and Music among which Miroirs de la musique (Grand Prix des Muses, 1996) and La
Musique dans la prose française des Lumières à Marcel Proust (2004). He is also author of numerous studies
or articles on the Organ and its music, specially on the period from the XIXth century until today. He is
currently preparing a History of the French Organ in the XXth Century. He has also participated to a number
of events in France or abroad of the subject of the Organ, among which broadcasts in Liège, Gand and
Geneva where Radio Suisse Romande has invited him on several occasions.
„INTERPRETATIONS OF CLASSICAL ART IN CONTEMPORARY PAINTING”, by
Łukasz M. Sadowski, Ph.D., Head of the Institute of Art Theory and History at the
Strzemiński Academy of Fine Art of Łódź (Poland)
The aim of this short presentation is to show the presence and vitality of classical forms in modern
times. As a „classical” I understand the term which refers not only to the Greek and Roman Period, but
rather as: „relating to the most artistically developed stage of civilization”. Of course another question is:
which stage was the most developed? I have decided to present those artists whose painting relates to the
historical, academic forms, or relates to the achievements of the most famous European artists from the
past. This may concern historical painting as well as f.e. Dutch-style still lives. As a „contemporary” I
understand the art of the turn of the 20th and 21st centuries, unless I will introduce also some earlier
examples, from the last century as well.
20th century was often called: „The Age of Vanguard”. In fact: the new visions of art were introduced by
many artists, became most important in previous century. The vanguardists were among the most
prominent, most famous artists. The modernistic and conceptual ideas even started to dominate also in the
educational system of some schools and academies of arts (especially in the 2nd half of the 20th century).
But possessing the cultural heritage of (mainly) Western civilization was also an important inspiration for
many other painters. The values like: good, academical drawing, the knowledge of technical secrets of old
9
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
masters and respect for tradition were important factors for a „classical” art in 20th and in the beginning of
the 21st century. Starting from 1920’s 1930’s period, several groups (f.e.in such distant countries like
Poland and USA) were reflecting tradition in their art. American traditionalist and Polish « St Luke’s
Society » were both following the ways of old masters. Despite of that, the classical forms were adopted
and forced by dictatures from 1920’s onwards (Italian « fascist », German « nazi » and art in Soviet Union).
The academic traditions are still present in the Russian painting and the system of artistic education refers
to the forms which were introduced in 19th or even 18th century (Surikov Academy of Fine Arts in Moscow,
Glazunov Academy of Arts in Moscow, Repin’s Institute of Fine Arts in St Petersburg). There are still classes
of historical or batalistic painting there. The classical tendencies which were sentenced by many critics as
« backward » or even condemned were existing out of the main stream during the 2nd half of 20th.
Nowadays they are widely present in the modern art. As examples I would like to show several prominent
contemporary painters from different countries: Werner Tuebke – Germany (German Renaissance, Italian
Manierism) Claudio Bravo – Chile (Manierism, the Spanish art of the 17th century), Michael Triegel –
Germany (German Renaissance, Manierism). One of the most famous, controversial (and the best paid !)
artists – Odd Neddrum, an American painter from Norwegian stock, consider himself as a « Rembrantist ».
Sometimes in a very provocative way...
Also the sill life is very popular now. Of course, traditionally in the Netherlands –« New Duth Realists »: Rob
Mohlmann, Helk Helmantel (also church interiors), Frans Klerkx, Olav Cleofas van Overbeek. Janhendrik
Dolsma is well known from his Dutch landscapes, close to those from 17th century. High artistic quality is
present also in Belgian art: Eric de Vree, in Spain: Pedro Moreno Meyerhoff, Isabel Quantinilla, Julio
Vaquero, in Italy: Maurizio Bottoni, Luciano Ventrone, Ricardo Tomassi Ferron and in France: Tibor Csernus,
Jean-Pierre Le Bozec, Pierre Skira.
The Polish art in the 2nd half of the 20th century had also strong connections to the traditional, classical
forms. Very often together with the metaphoric meaning. Some of the painters were active in Łódź – the
city was not only the important centres of vanguard, but also realistic-metaphoric painting : Jerzy Krawczyk,
Wiesław Garboliński. The last one (the former rector of Łódź’s Academy) was inspired by Russian orthodox
icons and Western European traditions.
Also nowadays in Poland artists like : Grzegorz
Moryciński,Krzysztof Izdebski-Cruz, Jacek Waltoś, Zbylut Grzywacz, Kiejstut Bereźnicki,
Grzegorz
Stachańczyk, Maciej Świeszewski refers their art to the classical traditions. Leszek Sobocki continues the
unique forms of funeral, « Sarmatic », Polish portrait from the 17th-18th centuries.
This lecture is a presentation of selected artists from the different countries. It shows – as I have mentioned
above - the presence and the vitality of classical forms in the contemporary painting all over the world.
Their inspirations were coming from periods in the history of art (Antiquity, Gothic, Renaissance,
Manierism, Romantism etc.). This refers to the past, but very often they are trying to show problems of the
modern world in this kind of a traditional way. The activity of contemporary painters gives a hope that
traditional, classical forms will be continued by the further generations of artists as well. This is also visible
in the activity of some students nowadays.
From 1992 to 1997, Łukasz Sadowski studied at the Department of Art History at the University of Łódź.
From 1998 to 2004, he studied at the University of Łódź and at the Faculty of Historic and Social Science,
Cardinal Stefan Wyszyński University in Warsaw. He made his doctoral thesis under the guidance of Prof.
Zbigniew Bania. From 1999 to 2001 he was a lecturer at the Department of Art History, University of Łódź
and at the Institute of Architecture and Urban Design, Technical University of Łódź. Since 2009, Łukasz
10
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Sadowski is lecturer at the Strzeminski Academy of Fine Art in Łódź – history of art, history of modern art,
history of printmaking. Łukasz Sadowski is also the President of Łódź Office of The Association of Art
Historians in Poland, and Science Council Secretary at the Polish Institute of World Art Studies, VicePresident (2011-2013) of its Łódź Office. He is currently researching on the issue of cultural relations
between Far East (China, Japan) and Europe or United States in the 19th and 20th centuries. He participated
in numerous scientific conferences in Poland and abroad. He published articles in Polish, English, Russian
and Chinese (translated). Guest lectures about Polish art at the University of Tartu (Estonia), University of
Art and Design Cluj-Napoca (Romania), Academy of Fine Arts in Florence (Italy), University of Lisbon
(Portugal). In 2013 he has held lectures about art in Poland/Łódź in the Ilya S. Glazunov Russian Academy of
Painting, Sculpture and Architecture. Łukasz Sadowski is the author of two books on architecture of
residences of Polish aristocracy.
Session II – 17:00-18:00
Re-Interpretation, or Back to the harpsichord future!”, by Prof. Barbara Maria
Willi, Ph.D, harpsichord and pianoforte professor at the Janacek Academy of
Music Brno (Czech Republic)
This lecture aims to review how Czech modern composers use Early music for creating harpsichord music.
Early music and especially the harpsichord haven´t got romantic connotations and were therefore an ideal
inspiration source for a new approach in the 20th Century. Starting with pseudo-classical patterns
(Martinů), the end of the Second World War brought a search for a complete breakdown of traditions.
Xenakis, Ligeti and others created completely new musical languages for the historical instrument
harpsichord. After the experimental wild years of the sixties, a reconciliation phase started. In the actual
Czech composers scene we can find very original uses of Baroque, Renaissance and Classical patterns.
What are the inspiration sources of Early music? What sense does it make to use a historical instrument
and the spirit of historical compositions? Which are the possibilities of instrument/historical composition
structures? Looking at these questions from the point of view of a player, is the main aim of this little essay
with practical examples.
Barbara Maria Willi passed with distinction in harpsichord/hammerklavier performance (with Professor
Kenneth Gilbert) and historic performance practice (with Professor Nikolaus Harnoncourt) at the
Mozarteum in Salzburg in 1995. In the same year she was awarded the “Prix d’encouragement” at the
harpsichord competition in Bruges. At present Barbara Maria Willi has a position as the Professor in historic
keyboard instruments at the Janáček Academy of Performing Arts in Brno. With the support of the DAAD
(German Academic Exchange Service), she founded, and conducts a harpsichord class at that institution. She
has also conducted master classes at the Early Music Institute of the Staatliche Hochschule für Musik,
Trossingen, (Germany) and with the Dutch tenor Marius van Altena at the Týn School, Prague. She has
performed at master classes given by Maurice Bourgue and Sergio Azzolini at the Bohuslav Martinu
International Academy of Chamber Music Prague.
11
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
She has also performed at a number of renowned European music festivals including the Prague Spring, the
Prague chamber philharmonia, Züricher Streicherwochen, the Toujours Mozart festival, the Michaelstein
Bach festival, the Mitte Europa festival. As a duo partner of Iva Bittová, she performed at prestigious stages
like the Wiener Konzerthaus, the philharmony of Essen, the Utrecht concert house. Her musical partners are
Martina Janková, Jos van Immerseel, Eric Hoeprich, Capilla Flamenca, Sergio Azzolini, Erich Hoebarth and
the ensemble Musicke & Mirth. Her recording entitled “Intrada di Polcinelli”, featuring newly-discovered
sonatas by J. H. Schmelzer from the Kromeříž music collection was awarded the “Preis der Deutschen
Schallplattenkritik. Her recent CD with Schola Gregoriana Pragensis and Capilla Flamenca issued by the
Belgian label ET´CETERA won the prestigious French title choc du monde de musique in august 2007.
Saturday, 29th of March
Session III – 10:00-12:00
Moderator: Ruben Zahra, composer, artistic director of Soundscapes and president of the Maltese
Association for Contemporary Music
Recomposing Monteverdi’s Arianna, by Johannes Boer, head of the early music
department, and Cornelis de Bondt, composer and pedagogue at the Royal
Conservatorium Den Haag (The Netherlands)
Project description:
time: September 2013-September 2015
Cast: 5 actors and 8 singers
Orchestra: exclusively period instruments
A new opera will be composed, using Monteverdi’s music from the period 1607-1608. Orfeo, Scherzi
musicali, Ballo delle Ingrate, Arianna.
Libretto: Johannes Boer and Angela Romagnoli (Italian verses)
New music: students of the composition department guided by professor Cornelis de Bondt.
The project will on the one hand take place in the realm of historical performance practice with a
focus on Monteverdi in his time. On the other hand new compositions for period instruments are mixed
with this historical material, in an opera that will be one of the main fields of study in a practical sense.
One of the great losses in music history is the opera Arianna by Claudio Monteverdi, which was performed
in 1608 in Mantova and later in Florence. Since we have one of the most striking and iconic pieces of
monody, the lamento d’Arianna, as the only survivor out of this opera, there is a strong indication that this
opera in its entity must have been of an extremely high quality.
By composing a new opera with insertions of original pieces, the music of Monteverdi is leading us to an
investigation of the essence of his works. Taking his biography of the year 1607-1608 as a basic constructive
element for the libretto, we enable ourselves to create an image of the circumstances, which were decisive
for the way the style came into being. Declamation is the red line throughout the works of Monteverdi and
in this research the ideals of this composer will be transferred to the present day as guidelines for new
12
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
compositions. In this way Monteverdi is going to be our teacher, who’s writings and music confronts us
with the primary conditions to achieve this goal.
The libretto will stage the most dramatic year in the life of Claudio Monteverdi starting after the last
performance of Orfeo and ending after the successful staging of Arianna on the occasion of the wedding of
Francesco Gonzaga and Margharita de Savoie. In that period Monteverdi lost his wife and later, briefly
before the première, he also lost his leading role singer Catarina Martinelli, who died 17 years old.
Catarina lived in his house from 1603-1606 and received a complete musical education by the master
himself. She must have been his ideal soprano. Biographical evidence is found in the letters of Monteverdi
about his constant struggle caused by delayed payment and lack of recognition from his patron Vincenzo
Gonzaga. Also his health problems related to the bad climate of Mantova are returning issues in his
correspondances. The controversy with Giovanni Maria Artusi, Artusi overo delle imperfettioni della
moderna musica (1600) is a subject that serves as a constant reminder Monteverdi had to defend his
position. His brother Giulio Cesare Monteverdi published a clarification in the print of the Scherzi Musicali,
July 1607 of the few lines Claudio published in 1605 in his defence against the allegations of Artusi.
By treating both Monteverdi’s and the students work as new music, the issue of freedom in composition
becomes an actual topic.
The subject of research will be a phenomenon which Richard Taruskin called ‘The Pastness of the Present”
and which is described as the dual motion of making ourselves contemporaries of the old composers by
trying to get into their skin as much as possible. At the same time we make the old masters our
contemporaries by performing their music, which automatically juxtaposes invention versus tradition.
In my opinion this approach is a vital element in Early Music, which was taken for granted by the last
generation of pioneers in the 60’s and 70’s. Today Early Music and historical performance have grown into
a new tradition which gets detached from the very origins described above. The overload of explicit
knowledge on the one hand and the lack of embodied testing of this knowledge, which was an obvious
necessity some decades ago, is the main reason for growing into main stream and deterioration by
superficial postmodern solutions.
Awareness of the creative elements which normally pass unnoticed as being too personal could help to
define Early Music again as a vitalizing movement.
Johannes Boer studied viola da gamba with Anneke Pols and Wieland Kuijken at the Royal Conservatoire in
The Hague and musicology at Utrecht University. He followed several masterclasses and courses with Jordi
Savall and Christophe Coin. In 1985 he founded the ensemble The Royal Consort which toured throughout
Europe and performed in numerous festivals. Apart from cd productions of this ensemble he participated in
many others with a great diversity of repertoire such as de Nederlandse Bachvereniging, Huelgas Ensemble,
Cantus Cölln, Camerata Trajectina and the Egidius Ensemble. As soloist he performed and recorded with
Clarincanto in Canciones de Amor y de Guerra and his own ensemble ’t Uitnement Kabinet which recorded
the solistic viola da gamba repertoire of the Dutch Golden Age. Apart from early music he performed and
recorded contemporary repertoire by composers such as Mauricio Kagel and Philippe Hersant.
He was connected to the organisation of the Early Music festival in Utrecht and in the editorial board of its
magazine Tijdschrift Oude Muziek. Since September 2006 Johannes Boer is head of the Early Music
department of the Royal Consevatoire in The Hague. In this position he organized many projects as well as
13
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
the Handel festival year 2009, which programmed among others a scenic production of Agrippina and a
production of 70 performers mixing Handel with contemporary music for period instruments.
Cornelis de Bondt studied composition and music theory at the Royal Conservatoire in Den Haag
(Netherlands). His composition teachers were Jan van Vlijmen and Louis Andriessen. In 1984 he concluded
his study with the Price for Composition. Since 1988 he is teaching music theory at the Royal Conservatoire.
In 2006 he is also appointed as teacher composition at the Royal Conservatoire and as coordinator for the
theory for composition students. In 2011 he started together with Yedo Gibson and Jeremiah Runnels a
laboratory for creating a new music practice, The Atelier. In the Eighties he composed a cycle of five pieces
Het Gebroken Oor (Broken Ear) in which the decline of tonality is explored. From 2000 onwards he worked
on a cycle called Bloed (Blood), played in the Holland Festival in Amsterdam 2002, by The Hilliard Ensemble
and the Nederlands Blazers Ensemble. The composition Karkas was, after its premiere in the Holland Festival
of 2002, performed again at the Warsaw Autumn of 2010. This piece of almost one hour is a very extreme
sequel of Bint (1979), now for 68 amplified instruments and a video of an exploding piano, in extreme
backward slow motion. In 2013 De Bondt announced the “erasing” of all his scores, due to the devastating
art policy of the Dutch Government. The farewell was celebrated on a concert that also announced the
farewell of the Radio Kamer Filharmonie, the orchestra that played his last composition, Das Lebewohl. He
saw no other way then to create a completely new composition practice, in which the role of the “score” is
put into question.
Interpretation instead of creation: Why early music replaced the contemporary
production?, by PhDr. Martin Flašar, Ph.D., Masaryk university, Brno (Czech
Republic)
Admittedly, this contribution is based predominantly on presumptions and hypotheses to be
discussed. Recently there can be observed a strong tendency in the Czech music culture grounded in
replacing contemporary music by early music. Tracing processes leading to such a paradoxical condition
many historical reasons should be examined. As a starting point could be perceived the emergence of music
historicism in the 19th century. Since the first third of the 19th century a parallel existence of old and new
music production was obvious. Until 1960s’ the New music maintained its position of the leading force in
meeting the expectations of audience striving for anything new. Following the crisis of the second avantgarde and rise of postmodernism the traditional and the old music acquired a quality of something
surprisingly new. The New music movement definitely lost its audience due to the contempt and elitism.
Early music movement evidently returns into music the human scale with its certain inaccuracy,
imperfection, fragility and deep emotionality. Has the New music definitely lost the battle? What are its
chances for the near future?
Martin Flašar (1979) works as an assistant professor at the Department of Musicology, Masaryk University
in Brno. Among his specializations belong contemporary music and media, multimedia and electroacoustic
music. In 2010 he reached the Ph.D. academic qualification with the dissertation Le Corbusier, E. Varese, I.
Xenakis: Poeme electronique (1958). Facts, contexts, interpretations awarded by the First Prize in the Best
14
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Master and Doctoral Interdisciplinary Thesis Competition (Olomouc, 2011) and later published by Masaryk
University. As an co-author he published several monographies focused on the contemporary audio culture
in the Central Europe and relations between art and science (for example Der Osten des Westens :
Elektroakustische Musik in der Tschechoslowakei von 1948 bis 1992. In Sound exchange : experimentelle
musikkulturen in Mitteleuropa. Saarbrücken: PFAU Verlag, 2012). He is a member of the grant commission
for classical music of Ministry of Culture of the Czech Republic and a long term contributor of the Czech
Radio 3, Czech journals and newspapers. As a violinist he is one of founding members of the Indigo Quartet
(Brno) and member of several Baroque music ensembles (Serpens cantat, Musica Poetica etc.).
EURTEXT new compositions pieces with the French young composer Denis
Ramos, student at the Conservatoire National Supérieur de Musique de Paris
(France)
Denis Ramos - Torsades
I decided to choose this tremendous Scherzo by Schubert as my reference piece, because I was fascinated
by its melody. The shape of this melody can be perceived like a constant succession of waves, from different
amplitude and duration, and it contributes to a feeling of permanently flowing music. Each of the three
movements that I have composed is inspired by this idea of a flowing music, within which we can hear
many waves, inducing the idea of continuous forward motion. This is the reason why I called my piece
Torsades (“twist” in French), which means a combination of two lines wrapping around each other, thus
creating two intricate waves. However, those I develop are not as big as the Schubert’s ones, on the
contrary, I have mainly worked with ‘microwaves’: short melodic formulations, and with the use of certain
specific skills like vibrato, tremolo, and trills.
The first movement is the most ephemeral, and with very frail sonority throughout. The music of the second
movement is a little bit more stable and sounds with more strength, however still escaping. In these two
movements, we can sometimes hear short quotations of Schubert’s piece, which also permit to bring
impulse to the music. The character of the third movement is different because it is composed from
quotations of the fourth Schubert´s movement – the Octet, the Theme and Variations, which succeed to the
Scherzo. It has been an opportunity for me to play with the framework of the Variations: indeed I have
concentrated all the variations into the theme presentation, in such a way that when the 16th bar of the
theme is played, we have already heard all variations! Even if my approach is very far from the one used in
the firsts two pieces, it also deals with the idea of escaping and waves, because we have the feeling to jump
in the time of the Schubert’s piece, so there is a kind of waves in the temporal field, thanks to the quotation
process.
15
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Session IV – 14:00-14:45
Moderator: Jan Čižmář, doctorate student at Janáček Academy of Performing Arts in Brno and at Masaryk
University, Brno.
Thoughts on some fertile hybridizations by Jehanne Dautrey, PhD., philosopher
at the Ecole Nationale Supérieure d’Art de Nancy (France)
Today many practices testify that musical, visual and scenic arts (as plastic arts and dance) construct
together their relationships with a large liberty. Some productions like Luciano Berio’s A-Ronne with the
producer Ingrid van Wantoch Rekowski, the contemporary choreographies with the music of John Cage,
Vivaldi or Stockhausen by the choreographs Angelin Preljocaj or Robert Carsen can give the impression that
theater and dance are totally liberated from the necessary submission to the musical sense, or even to the
respect for the music. Is it however possible to reverse the question and to wonder what happens in a such
graft? Instead of stressing what is not apparently respected, we can also consider at the opposite to
wonder what is read and showed off to advantage and which conceptions of art works are showed by these
new possibilities.
Former student of Gilles Deleuze, Jehanne Dautrey has a doctorate in philosophy for the philosophical and
musical systems of the classical age and studied musical performance. Jehanne Dautrey is philosophy and
aesthetic teacher at the Ecole Nationale Supérieure d’Art in Nancy (France) and coordinator of the
Interdisciplinary Research Platform ARTEM. Programme director at the Collège International de Philosophie
(CIPh) from 2001 to 2007, she coordinated, in cooperation with the Ecole d’Architecture of Paris-Malaquais
(ENSBA) and with the French Ministry for Culture, several seminars, colloquiums, studies about the research
in art. She regularly writes on art, in collaboration with famous artists as Angelin Preljocaj, Gérard
Fromanger, Georges Aperghis, Marco Stroppa, Guillaume Paris, Yann Toma, Paola Salerno, Marylène
Negro…
Published books : Strange design... Du design des objets au design des comportements (with E. Quinz) éd. i:t,
to be published ; La recherche en art(s), (dir), MF editions, 2010 ; Pavillon noir, Xavier Barral editions, 2006
(with Rudy Ricciotti, Angelin Preljocaj, Michel Cassé, Eric Reinhardt) ; « Musique, architecture » in the revue
Rue Descartes, nr. 56, Presses Universitaires de France, June 2007 (dir.) ; « Traduire Deleuze », Dossier
(Mineure) Multitudes nr 29 summer 2007.
16
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Session V – 15:15 – 16:00
Moderator: Jan Čižmář, doctorate student at Janáček Academy of Performing Arts in Brno and at Masaryk
University, Brno.
Creation = Interpretation? with pedagogues and students of the EURTEXT
project
The pedagogues of the EURTEXT project (Abbaye aux Dames de Saintes’ Jeune Orchestre atlantique,
Janacek Academy of Music and Strzeminski Academy of Fine Arts Łódź) will discuss their experience during
the project and about the impact of an interdisciplinary approach in the development of new curriculum.
With Catherine Puig, Jean-Philippe Vasseur, PhD. Barbara Willi, Ewa Bloom-Kwiatkowska, Adrianna
Grudzinska, Aleksandra Koziol, Denis Ramos
Session VI – 16:30 – 18:00
Students involved in the EURTEXT project from the different institutions coorganisers will present
some results of their artistic researches.
Sunday, 30th of March
Moderator: Jan Čižmář, doctorate student at Janáček Academy of Performing Arts in Brno and at Masaryk
University, Brno.
Session VII – 10:00-12:00
Visual, acoustic and kinetic "pathos formulas" in Giacomo Meyerbeer's music
theatrical works by M.A. Martin Skamletz and PhD. Anette Schaffer / Bern
University of the Arts – Research Area Interpretation (Switzerland)
The research project will examine outer and inner movement in nineteenth century European opera on the
basis of Giacomo Meyerbeer’s German, Italian and French music theatrical works. Emotional responses to
and perceptions of music play an important role in recent musicological research. However one aspect that
has not yet been sufficiently addressed is the direct correspondence between composition and body
movement in relation to the emotional effects produced by a multimedia work of art. Parisian “Grand
Opéra” can be seen as one of the culminations of nineteenth century operatic creation in this respect. The
source-oriented, interdisciplinary approach chosen for this project aims to combine historical and
systematic research methods in order to interrogate the nature of corporal presence in the context of
opera staging, including visually perceptible physical movements and the inner emotional impulses to
which these are related.
Martin Skamletz, born 1970 in Austria. Studies of Music Theory and Flute in Vienna, Traverso in Brussels.
1997–2007 teacher for Music Theory for the Swiss Society for Music Pedagogy SMPV in Basle, 2006–2008 at
Trossingen Musikhochschule, since 2006 professor at Vorarlberger Landeskonservatorium Feldkirch
17
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
(Austria), since 2007 head of research area "Interpretation" at Hochschule der Künste Bern. Flautist in
various baroque orchestras, doctoral project on French opera in Vienna ca. 1800.
Anette Schaffer received her PhD in History of Art with a thesis on El Greco’s painting Laocoön (ed. 2013,
Schwabe Verlag Basel), supervised by Oskar Bätschmann and Victor I. Stoichita, from the Departement of
History of Art and Architecture, University of Bern in 2009. She was a fellow at the Istituto Svizzero di Roma
(2007-08) and The Warburg Institute in London (2013). Currently, she holds a research position at the Bern
University of the Arts, as part of the interdisciplinary project „Moving Meyerbeer“ based at the research
area Interpretation. Within this field, she has edited the volume Sänger als Schauspieler (Argus 2014) and
contributed with an article on the role of the image in Parisian stage performances of the 19th century „Der
beredte Leib – Das Bild und die französische Schauspielpraxis des 19. Jahrhunderts“, and she has a
forthcoming article on Meyerbeer and Aby Warburg’s concept of the operatic theatre picture.
“The Tastes Are Changing. New Trends in Music Reception” by Assoc. Prof PhDr.
Rector Mikuláš Bek, Ph.D. Masaryk University in Brno (Czech Republic)
The lecture will offer an analysis of the changes in music reception over the last decades. Based on the
empirical research conducted in the Czech Republic, it will offer a typology of listeners to music. The
empirical findings will be brought into relation to the international debate on the ‘omnivorous listener’. The
available sociological data collected over the last 50 years in the Czech Republic allow a unique insight into
the dynamics of musical culture in the Central Europe.
Mikuláš Bek was born in 1964 in Šternberk. He graduated from Masaryk University in Brno in the field of
musicology and obtained his Ph.D. degree at Charles University in Prague. In 2004 he became Associate
Professor of Musicology at Masaryk University. He has held several teaching and research positions at
Charles University, Palacky University and Masaryk University; in 1994 he also worked as a visiting lecturer
at Royal Holloway and New Bedford College at University of London. Between the years 1999 and 2004 he
acted as a Head of the Department of Musicology at the Faculty of Arts of Masaryk University. In 2005 –
2011 he held the position of Vice-Rector for Strategy and External Relations at Masaryk University; in 2011
he was elected the Rector of MU. In his research he has been primarily oriented at sociology and cultural
history of music of the 19th and 20th centuries. Mikuláš Bek has been a member of several councils,
commitees and boards, e.g. the Scientific Board of Masaryk University (since 2004), of the Faculty of Arts of
Charles University (2006 – 2010) or the Scientific Board of the Komensky University of Bratislava (since
2011), the Board of Czech Rectors´Conference (2013). He is regularly invited as a guest speaker at various
conferences (both national and international) or as a member or a chairman of professional working
groups.
18
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Practical information
Conference venue
ASP Łódź - Strzemiński Academy of Art, Łódź
ul. Wojska Polskiego 121
91-726 Łódź, Pologne
Tél: +48 42 598 2547
Fax: +48 42 560 2547
Email: eurtext@abbayeauxdames.org
Registration
The registration to the conference is free.
Please register you on:
https://docs.google.com/forms/d/1LMC9xiTCT-SvbMTxriiWi7dV4t4fVFvGrSbYbwgnhvA/viewform
European projects brokerage
If your institution would like to develop new international partnerships, and if you are working on a
projects’ proposition for the next calls of the European Union programmes generation, the EURTEXT
coorganisers propose you to participate in a European projects brokerage.
Please indicate you participation in the registration form!
Travels indications
From abroad, the better travel connections are:


Flight to Warsaw or Łódź Airport
Train to Łódź Kalinska station
Lunches
The lunches during the conference will be taken in charge by the EURTEXT coorganisers.
Hotels
The participants book themselves their hotel in Łódź. The hotels list can be found on:
http://en.turystyczna.Łódź.pl/page/292,hotels.html
19
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
The guests coming to Łódź can choose between hotels situated in the city center, such as: Grand Hotel,
Światowit, Savoy, Centrum, Ibis or others located throughout the city. Professional service and modern
equipment are provided by, among others, Ambasador hotel or Andel's Hotel Łódź.
Alicja**
19A Politechniki , 93-590 Łódź
tel.: (+48) 42 684 63 70, (+48) 42 648 76 04
Borowiecki***
7/9 Kasprzaka , 91-078 Łódź
tel.: (+48) 42 288 01 00
Ambasador Centrum Łódź****
29 Marszałka Józefa Piłsudskiego , 90-307 Łódź
tel.: (+48) 42 677 15 20
Boss Hotel*
11 Tatrzańska , 90-315 Łódź
tel.: (+48) 42 672 48 89, (+48) 42 676 31 13
Ambasador***
8 Kosynierów Gdyńskich , 93-320 Łódź
tel.: (+48) 42 646 49 04, (+48) 42 646 42 68
Campanile**
27 Piłsudskiego , 90-307 Łódź
tel.: (+48) 42 664 26 00
Andel's Hotel Łódź ****
17 Ogrodowa , 91-065 Łódź
tel.: (+48) 42 279 10 00
Double Tree by Hilton****
29 Łąkowa , 90-554 Łódź
tel.: (+48) 42 208 80 00
Eskulap ICZMP Hotel**
46 Paradna , 93-345 Łódź
tel.: (+48) 42 272 33 00
Focus Hotel***
23/25 Łąkowa , 90-554 Łódź
tel.: (+48) 42 637 12 00
20
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Additional musical programme for the evenings during your stay in Łódź
Friday, 28.03.2014:
At 6:30 PM: Giacomo Puccini „MADAME BUTTERFLY”, opera, the Grand Theater in Łódź
Prices: from 30 PLN (7,50 €) to 80 PLN (20€)
Ticket information: (from 8 am to 4 pm: + 48 / 42 633 31 86
http://www.operaŁódź.com/en/repertuar.php?id=2
to buy a ticket go to: https://www.bilety24.pl/tickets/type/id/35090/lang/pl
-
At 7:00 PM: Symphonic concert: Program: C.Chavez - II Sinfonia India, E.Diemecke - Ist concert for
marimbę Fiiesta Otonal, S. Revueltas - Suita from movie Noche de los Mayas, Łódź Philharmonic at
the Łódź Philharmonie Concert Hall
http://filharmonia.Łódź.pl/EN/Repertory/SymphonicConcert/Event/864/Default.aspx
to buy a ticket go to:
https://filharmoniaŁódź.bilety24.pl/tickets/type/id/31615/ref/b24_filharmoniaŁódź/langpl
BOX OFFICE : + 48 / 42 664 79 79
Prices from 35 PLN (9 EUR) to 51 PLN (13€)
Saturday, 29.03.2014
-
At 6:30 PM: „THE BAT”, operetta (music: Johann Strauss, libretto Karl Haffner, polish libretto Julian
Tuwim), Music Theater in Łódź
http://teatr-muzyczny.Łódź.pl/content.aspx?cmsId=310
to buy a ticket go to: https://www.bilety24.pl/tickets/type/id/31553/lang/pl
Monday-Friday 8.00-16.00
tel.: + 48 / (42) 678 19 68
rezerwacja@teatr-muzyczny.Łódź.pl
Prices: 30zl (7,5€)area 1, 40 zl (10€) area 2, 50 zl (12,5€) area 3, 80 zl (20€) VIP area
Sunday, 30.03.2014
-
AT 6:30 PM, Giuseppe Verdi „TRAVIATA”, opera, Grand Theater in Łódź
http://www.operaŁódź.com/en/repertuar.php?id=2
to buy a ticket go to: https://www.bilety24.pl/tickets/type/id/35091/lang/pl
Prices from 25 PLN (6€) to 80 PLN (20€)
-
5:00 PM: „THE BAT”, operetta (music: Johann Strauss, libretto Karl Haffner, polish libretto Julian
Tuwim), Music Theater in Łódź
http://teatr-muzyczny.Łódź.pl/content.aspx?cmsId=310
to buy a ticket go to: https://www.bilety24.pl/tickets/type/id/31554/lang/pl
21
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
Monday-Friday 8.00-16.00
tel.: (42) 678 19 68
rezerwacja@teatr-muzyczny.Łódź.pl
Prices: 30zl (7,5€)area 1, 40 zl (10€) area 2, 50 zl (12,5€) area 3, 80 zl (20€) VIP area
EVERYDAY:
-
Exhibition: "Strzemiński Copetition - Design", Promotional Center of Fashion
Exhibition: "Strzemiński Copetition - Fine Arts", Centre of Art Promotion
http://www.mgsŁódź.pl/
22
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014
EURTEXT project coorganisers staff
Catherine Puig, JOA Education manager
Vincent Soccodato, European projects coordinator
Abbaye aux Dames de Saintes (France)
Assisted by Aleksandra Koneczna (EVS)
Prof. Barbara Willi
Jana Musilová
Janacek Academy of Music Brno (Czech Republic)
With the cooperation of Jan Čižmář
Ruben Zahra
Soundscapes – Maltese Association for Contemporary Music (Malta)
Beata Bloch
ASP Łódź - Strzemiński Academy of Art de Łódź (Poland)
23
Project « EUR-TEXT – Back to the future ! » - Final conference – 28th to 30th of March 2014